Crafting a New Kind of Renaissance Faire: Theatrical Medievalism and the Aesthetic of Wonder

I am always looking for my next adventure, and so this past year I took a risk and wandered into new territory. Through creative partnership with my wife, Rajuli Fahey, and the many folks involved in what became FaeGuild Wonders, we together built not one but two inaugural Renaissances Faires in Massachusetts. Rajuli served as Art & Entertainment Director, and Stage Manager (and one of the Vending Coordinators at the latter faire), I served as Creative & Theatrical Director, Playwright and Academic Consultant for both Wyndonshire Renaissance Faire at the Community Park in our resident town of Winchendon, MA and Enchanted Orchard Renaissance Faire at Red Apple Farm just down the road in nearby Phillipston, MA.

Witnessing the Maypole Dance at Enchanted Orchard: Orchard Wizard (Creative & Theatrical Director, Richard Fahey), Orchard Steward (Red Apple Farm Owner, Al Rose), Orchard Stewardess (Red Apple Farm Owner, Nancy Rose); Image by Richard Carter (May 4th, 2025).

Public medievalism has long been a professional interest and personal passion of mine, and although I enjoy scholarship and traditional ways of academically engaging with medieval history, literature and culture, I am also drawn to the fantastic and wondrous, to the creative and adaptive, and it has long been a personal dream to produce full-scale Renaissance Faire that takes medieval literature and the aesthetic of wonder as its creative direction. Indeed, during my PhD studies at the University of Notre Dame, I organized a small-scale theatrical production called Grendelkin, which featured innovative and avant-garde performances related to Beowulf, which brought together musical artists, professional dancers and early medieval English scholars.

The Rogue Council of Wyndonshire: Hooded Rogue (Mandalina Blake), Pirate Queen (Katharine Taylor), Robber Baroness (Micayla Sullivan), Master of Arms (Keith Fisher), Pirate Quartermaster (Jarod Tavares), Masked Bandit (Mitch Lang); In back: Captain of the Kingsguard (Richard Carter), Blue Duchess (Lori Evans), Baronsguard (Ben Becker); Image by Adam Blake (April 27th, 2024).

The project’s scope expanded well beyond anything I might have anticipated when I signed on to be a Member of a Planning Group in our small Town of Winchendon, agreeing to create characters and produce a script, storyline and lore for Park & Recreation Member Dawn Higgins’ RenFaire initiative. Of course, there were many challenges to overcome along the way, some from the nature of startup projects and some from the circumstances surrounding organizing two distinct faires with very different models and storylines, which debuted back-to-back weekends this spring. While my blog today is in part a celebration of both events, it will center primarily on the creative inspiration and direction that shape both Renfaires and the world-building aspects that allowed me to leverage my expertise and love of medieval literature, especially that which contains monstrous and wondrous elements, in my creative process.

Wyndonshire Fairy (Jodi Schoolcraft) & Wyndonshire Town Crier (Leanne Blake), Image by Kit Catlett (April 27th, 2024).

However, before we dive too deep into the creative process, a brief description of both faires is in order:

Wyndonshire Renaissance Faire

For this faire, Rajuli and I both volunteered our professional services in order to support our town, local community and the beautiful amphitheater at the Winchendon Community Park. As the project grew so did our roles in the production of Wyndonshire. What began as a modest endeavor bloomed into a full-blown production that welcomed and engaged the local art community. Although all of the characters are fictitious (some cocreated with the character actors themselves), I based the House names around prominent families from Winchendon (the Murdocks and Whitneys in particular), though there is no intended relationship (allegorical or otherwise) between the Wyndonshire nobles and said historical families. This year’s plotline centered around “The Wyndonshire Wedding” between the Blue Princess (played by Melony “Melegie” Lemony) and Green Prince (played by Drew Dias). The wedding is coupled with political intrigue and subterfuge, resulting in a contest for power between the Blue King (played by James Higgins), Green Queen (played by Tammy Dykstra) and Red Baron (played by Dave Fournier) and culminating in a peasant revolt featuring rogues, pirates and marauders led by the Robber Baroness (played by Micayla Sullivan), the Pirate Queen (played by Katharine Taylor) and the Viking Jarl (played by Jason Sumrall).

The Red Baron (Dave Fournier) and Blue King (James Higgins) of Wyndonshire; Image by Kit Catlett (April 27, 2024).

Enchanted Orchard Renaissance Faire

After Wyndonshire was underway, this faire was conceived in collaboration with a local farm and festival venue, Red Apple Farm, owned by Al and Nancy Rose, who were excited to cocreate an event such as this in order to advertise their growing business, provide interactive and experience-based agricultural awareness, bring tourism to the surrounding area and support both the regional economy and artist community. Enchanted Orchard Renaissance Faire features fictitious characters and storylines that are centered on sustainable farming practices and agrarian life which was the bedrock for the medieval world. The main conflict concerns a disagreement between the nobles as to whether or not to expand the orchard or preserve the forest, with the Orchard King (played by Paul Taft) and Blossom Baroness (played by Jen Knight) advocating for conservation and the May Queen (played by Tammy Dykstra) and Duke of Thorns (played by Dave Fournier) opposing and advocating for preservation, ending with an unexpected marriage proposal and announcement between the Prince of Leaves (Michael Barboza-McLean) and the Blueberry Princess (Melanie “Melegie” Lemony).

Enchanted Orchard Knights and Nobles: Prince of Leaves (Barboza-McLean), Green Knight (Quinne Richard), May Queen (Tammy Dykstra), Orchard King (Paul Taft), Blue Knight (Ayden Mel), Blueberry Princess (Melanie “Melegie” Lemony), Red Knight (Dan Towle), Duke of Thorns (Dave Fournier), Hand of the Duke (Devon Barker); Image by Kit Catlett (May 4th, 2024).

These events included performances by musical and theatrical groups such as The Knights of Lord Talbot, Meraki Caravan, The Phoenix Swords, The Shank Painters, The Harlot Queens, The Warlock Wondershow, The Misfits of Avalon, Diva Di, Dead Gods are the New Gods, The Green Sash, The Mt. Wichusett Witches, Skeleton Crew Theater, Massachusetts Historical Swordsmanship [HEMA], The Ditrani Brothers, Nagashri Dancers, PsyBEL, Our Dance Space and numerous solo performers.

Obviously, RenFaires are at their core fantasy. They do not reflect in any consistent or credible way the historical realities of the medieval or early modern period, and even those groups and projects that are purportedly more focused and committed to historical accuracy, such as the Society for Creative Anachronism [SCA] and Pennsic Wars, acknowledge the deep limitations of attempting to recreate a historical past in the present: it’s simply not possible.

Enchanted Orchard Pub Sing: Orchard King (Paul Taft), Hand of the Duke (Devon Barker), Viking Shieldmaiden (Sylvia Sandridge), Duke of Thorns (Dave Fournier), Orchard Wizard (Richard Fahey), Orchard Herald (Nikolaus Brauer-Chagnon), Pirate Queen (Katharine Taylor), Blossom Baroness (Jen Knight), Countess of the Rose (Dawn Higgins), Pirate Quartermaster (Jarod Tavares), Weird Sister (Siobhan Doherty), Wyndonshire Herald (Alex Deschenes), Blue Knight (Ayden Mel), Orchard Jester (Chelsey Patriss), Siren (Jessa Funa), Prince of Leaves (Michael Barboza-McLean), Orchard Enchantress (Rajuli Fahey), Blueberry Princess (Melanie “Melegie” Lemony); Image by Richard Carter (May 5th, 2025).

Although folk certainly do not (and cannot despite best efforts) actually travel back in time when attending a RenFaire, and many of the performance groups embed non-historical or fantastic elements, the desire to experience something historically adjacent, something medievalish, to invoke modern perceptions (and at times misconceptions) of premodern times, and to be immersed in a world of medievalism, has bloomed in recent years and will likely continue to grow. As a medievalist interested in the intersection between medieval studies and medievalism, my goal in cocreating and directing these RenFaires was never to recreate the historical past or attempt to conjure the authentic premodern world, but rather to evoke the experience and aesthetic of wonder that imbues so many of the works of medieval literature I love most and which dramatize the monstrous, the magical, the mysterious, miraculous and the uncanny. I asked myself and the Muses two essential questions: 1.) what would it be like to walk into a work of medieval literature? And, 2.) what would it be like to walk into a medievalesque fantasy world?

Princes of Wyndonshire: the Satyr Prince (Sasha Khetarpal-Vasser) and the Green Prince (Drew Dias); Image by Mitch Grosky (April 27th, 2024).

I knew I wanted the experience to be highly immersive. I wanted folks attending to feel part of something—to have almost crossed into a fairyworld or an uncanny realm. I wanted the experience to be overwhelming, with too much to possibly see or do. I wanted to create the illusion of entering a world that is alive with everything from town gossip to its own historiography and mythography. Most of all, I wanted the patrons to experience the wonder that is embedded throughout medieval literature and that makes medievalism such a joy to modern audiences. I decided to include both stage performances and many immersive skits, as well as multiple interlacing subplots that come together at various points throughout the events.

Wyndonshire Rogues and the Green Sash Marauders: Masked Bandit (Mitch Lang), Robber Baroness (Micayla Sullivan), Pirate Quartermaster (Jarod Tavares), Viking Jarl (Jason Sumrall), Viking Warrior (Jeffery Allen Evans), Viking Berserker (Andrew Hamel) & Wyndonshire patrons; Image by Richard Fahey (April 28th, 2024).

In the end, both faires were a wicked good time and proved to be huge successes—for the town and for the farm—and from these experiences a community formed into a sort of immersive theater company, FaeGuild Wonders. Because of our unique approach to these Renaissance Faires, the immersive and theatrical dramatizations in particular, and the inclusive spirit of community present at these events, we received some local press leading up to and after their debuts. But the best part of the entire process for me, personally, was not even seeing my vision come to life—it was the community building and getting to collaborate with my friends and family.

Captain of the Kingsguard (Richard Carter), Wizard of Wyndonshire (Richard Fahey), Kingsguard (Kellie Carter); in back: Blue King (James Higgins); Image by patron for Richard Carter (April 27th, 2024).

I could talk about each event in detail, exploring the ways I engage the medieval aesthetic of wonder as well as the modern imaginary, but those will likely be the substance of future blogs on Wyndonshire and Enchanted Orchard. Most exciting of all for me to share is a brand-new event that Rajuli and I are planning and directing this winter, again in collaboration with the Red Apple Farm team led by the Roses (because they were such awesome partners): the Northfolk Nightmarket on February 22nd and 23rd 2025. This will offer me the incredible opportunity to dramatize the story of Beowulf, the subject of my dissertation and the majority of my scholarship, and interweave the story into an inaugural event which will draw inspiration directly from medieval lore, literature, myth and legend. Perhaps we’ll see you there?

Richard Fahey, PhD in English
Medieval Institute
University of Notre Dame

Old Directions in Medieval Language Acquisition

When more than a dozen undergraduates successfully banded together last year to petition the administration for me to teach the first ever course in Old Norse language and literature at my (now former) institution, I vowed not to disappoint them.[1] Knowing that these students would likely never have another opportunity to spend a semester learning and reading Norse in a formal setting, I soon realized that in two one-hour meetings per week over a single semester we could hope for little more than a forced march through any standard textbook, yielding some sense of the rules of the language but no real experience reading it.

A portrait of Guðbrandur Vigfússon (13 March 1827 – 31 January 1889) by Sigurður málari.

Broadening my search, I came across Guðbrandur Vigfusson’s 1879 Icelandic Prose Reader. Vigfusson recommends jumping right into reading, ideally beginning by muddling through the Gospel of Matthew, with which he assumes students will be familiar, before moving on to a shorter saga—he recommends Eirik the Red. He offers this advice:

The beginner should at first trouble himself as little as possible with grammatical details, but try the while to get hold of the chief particles, the pronouns, and a few important nouns and verbs—the staple words of the language…The inflexive forms are of less import; they will be more easily learnt and better remembered, if they are allowed to grow bit by bit on the mind, as they occur in the reading. Grammar is, after all, but the means to an end, and much of one’s freshness and power of appreciation is lost, if it is incessantly diverted from the subject before one, to the ungrateful study of dry forms.[2]

Though the reader does come equipped with a brief grammar consisting primarily of tables and charts, Vigfusson underscores his grammar-deemphasized, reading-first method by featuring the texts first in the volume, grammar second.

The grammar portion makes up only fifty pages of 560.

Though Vigfusson gave very little concrete advice for teaching besides a general idea to dump students in and let them swim, it got me thinking about how else we might teach and learn old north germanic languages. How did medieval students and teachers approach language learning?

The Anglo-Saxons (despite or perhaps due to King Alfred’s lamentations about the state of Latin learning in his realm) were particularly accomplished language learners, as anyone considered truly literate had to read and write a completely foreign language—Latin. This literacy included many skills besides grammatical analysis. To quote R.W. Chambers, “their aim was to read Latin, write Latin, and dispute in Latin.”[3] Recalling Vigfusson’s suggestion to start with the Gospel of Matthew, the youngest students of written Latin would begin with the Psalms, which they had previously learned by heart, along with the letters of the alphabet and various Latin prayers.[4] The upshot is, medieval students had a lot of the target language in their ears and memorized by heart before they ever began a program of study directly aimed at mastering grammar, learning to read, and creating in the language.

Then they’d move on to the Latin colloquy, question-and-answer dialogues meant to be memorized, acted out, and expanded through creative variation. One of the best-known colloquies, written for young scholars by prolific homilist and grammarian Ælfric of Eynsham at the turn into the eleventh century, was paired close to the time of Ælfric himself with an interlinear Old English gloss. I’d like to suggest a way of using this text in class in a way that goes beyond reading or translating the Old English (or the Latin, for that matter).[5]

The early part of the colloquy is set up as a question-and-answer between the teacher and a classfull of students, who take the parts of people working diverse jobs, a ploughman, a monk, a hunter, a cook, etc.

Facsimile of a Miniature in a mediaeval manuscript published by Shaw, with legend “God Spede þe plough, and send us korne enow.” Image in the Public Domain.

Here the teacher (perhaps played by one of the students) introduces us to the ploughman.

Hwæt sæᵹest þu, yrþlinᵹc? Hu beᵹæst þu weorc þin?

Eala, leof hlaford, þearle ic deorfe. Ic ᵹa ut on dæᵹræd þywende oxon to felda, and iuᵹie hiᵹ to syl; nys hit swa stearc winter þæt ic durre lutian æt ham for eᵹe hlafordes mines, ac ᵹeiukodan oxan, and ᵹefæstnodon sceare and cultre mit þære syl, ælce dæᵹ ic sceal erian fulne æcer oþþe mare.

A passage like this gives ample opportunity for working in the target language even beyond memorizing and acting out the dialogue (both excellent for building vocabulary and familiarity with grammatical structures). It also allows for imitation and creative response to a series of questions based on the text.

One question is already built into the dialogue.

Eala yrþlinᵹc, hu beᵹæst þu weorc þin?

  • Ic ᵹa ut on dæᵹræd þywende oxon to felda, and iuᵹie hiᵹ to syl.

But we can ask other questions that test comprehension and encourage active imitation.

For example:

Hwæt þēoweþ sē yrþlinᵹc ut to felda?

  • Sē yrþlinᵹc þēoweþ to felda þæs oxon.

Even without knowing exactly how to conjugate the verb, the student gets to employ the correct form in context through recognition and imitation. I say “þēoweþ,” and the student recognizes it as the form needed in the response.

I can drill conjugation, though, if I want:

Eala yrþlinᵹc, hwæt þēowst þu to felda? (Exaggeratedly pointing a finger at the student to emphasize the second person singular pronoun)

  • Ic þēowe þæs oxon.

The student will quickly begin to recognize that “þēowst þu” needs “ic þēowe” as a response. If a student says “ic þēowst” or similar, I might repeat back “þu þēowst, ic þēowe” (with approriate finger pointing) and move right along.

We can work with different verbs:

Eala yrþlinᵹc, hwæt iugast þu to syl?

  • Ic iugie þæs oxonto syl.

And play with conjugation:

Hwæt iugiaþ sē yrþlinᵹc to syl?

  • Sē yrþlinᵹc iugiaþ þæs oxon to syl.

But there are plenty of other questions we could ask about the same bit of dialogue.

Eala yrþlinᵹc, hwaenne gæst þu ut to felda?

  • Ic gā on dæᵹræd to felda.

Hwon gæþ sē yrþlinᵹc ut to felda?

  • Sē yrþlinᵹc gæþ ut to felda for eᵹe his hlafordes.

Students might start out with one- or two-word responses. “Yea.” “Oxon.” “On dægræd.” But with encouragement and practice with mirroring back much of the content of the question, they will start to put together more complex utterances.

I might ask:

Hwæþer sē yrþlinᵹc gæþ ut to felda nihtes?

  • Se yrþlinᵹc ne gæþ ut to felda nihtes. Sē yrþlinᵹc gæþ ut to felda on dæᵹræd.

or

Hwæþer sē yrþlinᵹc willaþ gan ut to felda?

  • Se yrþlinᵹc ne willaþ gan ut to felda. Sē yrþlinᵹc gæð ut to felda for eᵹe his hlafordes.

These examples give some idea of the approach I’ve used, alongside extensive reading of accessible texts, to great result in my Old Norse and Latin classes. The method can be applied to other readings, even if you spend most of the class translating. Pull out a few sentences you’d like to drill down into and ask questions about in the target language.

As a postscript, we did read the gospel of Matthew and the saga of Eirik the Red, and my former students have kept up a Norse reading group, without further help or interference from me.

Rebecca M. West, Ph.D.
The Center for Thomas More Studies
Hillsdale College


[1] An earlier version of this material was presented at ICMS 2024.

[2] Vigfusson, An Icelandic Prose Reader, vi.

[3] R. W. Chambers, Thomas More, 58.

[4] See Garmonsway, Ælfric’s Colloquy, 12.

[5] I took inspiration from the Latin colloquy in developing new materials for my Old Norse class, but the teacher of Old English is saved this laborious step.

Plato, Mathematician and Myth-Maker

Pisano, Giovanni, 1240?-1320?. c.1284. Siena Duomo: det.: Plato. Place: Museo dell’Opera del Duomo (Siena, Italy). https://library-artstor-org.proxy.library.nd.edu/asset/ARTSTOR_103_41822000532257.

The Republic, The Symposium, The Phaedrus, The Apology, and The Phaedo––these are just a few of the works of Plato that were not widely available throughout most of the Middle Ages. No extended depiction of the most just city in the Republic. No discussion of love in The Symposium and The Phaedrus. No self-defense for Socrates at his trial as found in The Apology, and no final dialogue before his suicide as found in The Phaedo. For lovers of great texts, especially Plato, such news can be shocking. What kind of Plato does a person know if they don’t have these key works? How much of Socrates’ life and Plato’s philosophy could even be known? These are the questions that many medieval scholars of the Latin Platonist tradition have dedicated their lives and careers to answering, and the answers can be quite surprising.

One aspect of this research that ought to be appreciated by the wider reading public (outside of the narrow confines of medievalists) is that Plato’s Timaeus wasthe most widely available Platonic work throughout most of the Middle Ages. In fact, examining the text of the Timaeus and why itwas such one of the few Platonic texts preserved reveals how peculiarly modern our current canon of Platonic literature is.

What we value in Plato was not necessarily what late antique or medieval readers valued, and yet, their ability to read well meant that they understood a lot more than might be supposed. An attention to the reception history of Plato’s Timaeus can give modern readers of Plato a better appreciation for the importance of both mathematics and poetry in Platonic philosophy.

The Timaeus is Plato’s work on the origins of the universe. It begins with a dialogue between Timaeus, Socrates, Hermocrates, and Critias, in which Socrates expresses a desire for a “moving image” of the city they had been talking about the day before. The summary of the previous day’s discussion appears to bear some resemblance to the conversation found in the Republic although scholars are divided over whether this summary perfectly matches the Republic that we now possess. Regardless of its accuracy, this summary would have been the closest a medieval reader would have had to a taste of the Republic. The opening dialogue covers all sorts of fascinating topics from Solon’s visit to Egypt, oral culture, the mythic origins of writing, and the myth of Atlantis, but the bulk of the work features a narration about the origins of the universe recounted by the Pythagorean, Timaeus.

The Timaeus was received in the Middle Ages through three main channels of Latin translations: the translation of Calcidius (which ends at 53b), the translation of Cicero (available but not widely used or even known, which ends at 42b), and the excerpts from the Ciceronian translation of the Timaeus that can be found in Augustine’s City of God. Although it does not contain the whole text of the Timaeus, Calcidius’ translation is much more complete than Cicero’s: rather than giving merely the speech of Timaeus like Cicero’s translation does, it includes the opening dialogue (even though the commentary itself ignores it).

Most modern Plato scholars would probably not choose The Timaeus as theone and only work they could save from destruction for all time. But, a better understanding of who Calcidius was and why he wrote the commentary on the Timaeus suggests that the preservation of the Timaeus in the Latin West was not an accident of fate. Rather, the results of Gretchen Reydams-Schills’ lifelong study of Calcidius give a plausible reason for why Calcidius’ commentary may have been the Platonic work of choice for many late antique philosophers.

Reydams-Schils argues that Calcidius wrote his commentary as an introduction to the Platonic corpus, essentially reversing the Middle Platonic curriculum, which traditionally ended with the Timaeus. One major piece of evidence for this theory is that Calcidius’ commentary often reserves discussion of harder philosophical concepts for the end of the commentary.Furthermore, unlike the Neoplatonists, Calcidius did not read the Timaeus synoptically and believed strongly in the importance of sequential reading of the Platonic corpus. In Calcidus’ Platonic curriculum, the Timaeus came first with its teachings on natural justice, then the Republic with its teaching of positive justice, and finally, the Parmenides came with its teaching of the forms and intelligible realities. Calcidius believed that a thorough understanding of mathematics was necessary for understanding of almost all of the Platonic works, which is why his commentary on the Timaeus turns out to be something like a crash course in Pythagorean mathematics.

Thus, although the Timaeus was one of the only Platonic works available throughout the early Middle Ages, Calcidius’ commentary gave readers some introduction to the entire Platonic corpus as well as a great deal of Pythagorean mathematics. Perhaps there might be good reason for a philosopher to save The Timaeus (especially a copy with Calcidius’ commentary)from a burning building!

Plato; Chalcidius (translation). Timaeus. Manuscript. Place: Bodleian Library, University of Oxford, <a href=’http://www.bodley.ox.ac.uk/’>http://www.bodley.ox.ac.uk/</a>. https://library-artstor-org.proxy.library.nd.edu/asset/BODLEIAN_10310768399.

Medievalists who study the textual reception of the various translations of The Timaeus have been able to identify a shift in kinds of interest in Plato over time. The primary Latin translation of the Timaeus used until the eleventh century was Cicero’s. Medieval scholars used to assume that the revival of Calcidius began with the twelfth century Platonists, but Anna Somfai has demonstrated that the proliferation of copies of Calcidius’ text and commentary began in the eleventh century when championed by Lanfranc of Bec (c.1050). The late twelfth-century actually experienced a decline of copying the Timaeus as interests shifted towards other texts.

What motivated the eleventh-century interest in Calcidius appears to have been the mathematical content of the Calcidian commentary because, by the Carolingian period, much of the actual content of the quadrivial arts had been lost, and scholars in the Middle Ages attempted to piece together what scraps of it remained from a variety of sources. Calcidius’ commentary on the Timaeus appears to have been particularly valued as a source text for the quadrivial (or mathematical) arts. As my two previous MI blogs have explored here and here, medieval thinkers in the traditional liberal arts tradition recognized that the quadrivial arts were the foundation for philosophical thought, even if they had few textual sources for actually studying them.

And although some of the interest in the kinds of mathematics found in the Timaeus and Calcidius’ commentary may have declined after the twelfth century, it was by no means lost completely. As David Albertson has demonstrated, the mathematical interest in Plato found in the work of the twelfth-century scholar, Thierry of Chartres, would eventually be picked up by the fifteenth-century scholar, Nicholas of Cusa, and many scholars have noted resonances of Cusa’s quadrivial agenda in the thinking of Leibniz, the founder of calculus:

It seems that God, when he bestowed these two sciences [arithmetic and algebra] on humankind, wanted to warn us that a much greater secret lay hidden in our intellect, of which these were but shadows. (Leibniz as quoted by Albertson, p.2)

Bernardus Silvester. Liber fortunae, also known as Experimentarius.. Manuscript. Place: Bodleian Library, University of Oxford, <a href=’http://www.bodley.ox.ac.uk/’>http://www.bodley.ox.ac.uk/</a>. https://library-artstor-org.proxy.library.nd.edu/asset/BODLEIAN_10310765350.

Even though the interest in scribal copying of the Timaeus seems to have declined somewhat by the twelfth-century, another kind of imitatio or translatio studii was being enacted by a different kind of scholar, Bernard Silvestris. He wrote a prosi-metric telling of the creation of the world that emulates Plato’s Timaeus. The title of his work, Cosmographia, roughly translates as “universe writing,” and Bernard delivered an oral performance of itbefore Pope Eugenius III in 1147. Bernard’s creative retelling of the Timaeus poetically depicts the role of imitation in the divine creation of the world in the form of “divine writing.” Performatively, the Cosmographia demonstrates that this divine writing is then imitated by poets in the form of human writing. In other words, Bernard values Plato’s Timaeus here not merely for its insights into mathematics or even the structure of the universe, but also what this mathematics in the universe implies about the mimetic nature of poetry itself.

As many literary scholars have demonstrated, much of the European literary tradition follows suit in seeing the value of Timaean Platonism for the production of literature. This interest can be seen in such diverse authors as Alan of Lille, Chrétien de Troyes, and Dante.

While I would personally be loath to give up the access to the Platonic corpus that I possess, the medieval reception of the Timaeus constantly pushes me to reconsider how I am reading that corpus. Having a large corpus of texts actually places an onus on the modern reader to ask the question of where to place the textual emphasis: Which texts of Plato should be considered central (and which ones periphery) and why? For example, should Plato’s Republic be considered his last word on poets and poetry? What would happen if Plato’s Timaeus were given more weight?

C.S. Lewis once wrote in his introduction to On the Incarnation by Athanasius:

Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books.

These words about reading the great books can also apply to reading the old books as they were read by past readers. Understanding medieval readings of Plato might very well be a good counterweight to modern presuppositions about who Plato was and what he was about. How might the idea of Plato as both a mathematician and myth-maker transform our modern understanding of Platonism and its history?

Lesley-Anne Dyer Williams is a Professor for Memoria College’s Masters of Arts in Great Books program and graduated with her doctorate from the University of Notre Dame’s Medieval Institute in 2012. She was also the founding director Liberal Arts Guild at LeTourneau University. Her research focuses upon twelfth-century Platonism and poetry, especially Thierry of Chartres and Bernard Silvestris.

Lesley-Anne Dyer Williams
Public Humanities Postdoctoral Fellow
Medieval Institute
University of Notre Dame

For Further Reading:

Albertson, David. Mathematical Theologies: Nicholas of Cusa and the Legacy of Thierry of Chartres. Oxford University Press, 2014.

Baxter, Jason M. The Infinite Beauty of the World: Dante’s Encyclopedia and the Names of God. Peter Lang, 2020.

Bernardus Silvestris. Poetic Works. Edited by Winthrop Wetherbee, vol. 38, Harvard University Press, 2015.

Caiazzo, Irene. “Teaching the Quadrivium in the Twelfth-Century Schools.” A Companion to Twelfth-Century Schools, edited by Cédric Giraud, translated by Ignacio Duran, vol. 88, Brill, 2019, pp. 180–202.

Calcidius. On Plato’s Timaeus. Edited by John Magee, vol. 41, Harvard University Press, 2016.

Chenu, M. D. “The Platonisms of the Twelfth Century.” Nature, Man and Society in the Twelfth Century: Essays on New Theological Perspectives in the Latin West, translated by Jerome Taylor and Lester K. Little, vol. 37, University of Toronto Press, 1997.

Dronke, Peter. The Spell of Calcidius: Platonic Concepts and Images in the Medieval West. SISMEL edizioni del Galluzzo, 2008.

Gersh, Stephen. Middle Platonism and Neoplatonism: The Latin Tradition. Vol 1 and Vol 2. University of Notre Dame Press, 1986.

Hoenig, Christina. Plato’s Timaeus and the Latin Tradition. Cambridge University Press, 2018.

Murray, K. Sarah-Jane. From Plato to Lancelot. Syracuse University Press, 2008.

Plato. Plato’s Cosmology: The Timaeus of Plato Translated with Running Commentary. Edited by F. M Cornford, Routledge, 1937.

Reydam-Schils, Gretchen. “Myth and Poetry in the Timaeus.” Plato and the Poets, edited by Pierre Destrée and Fritz-Gregor Herrmann, Brill, 2011.

Reydams-Schils, Gretchen J. Calcidius on Plato’s Timaeus: Greek Philosophy, Latin Reception, and Christian Contexts. Cambridge University Press, 2020.

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